Ir 


i 


>.v 


I 


•? 


I 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/minorecclesiastiOOwhit 


•■T  — ■«..  .1^-  -..vwi 

• W 


I 


C'- 


f 


> 


THE  MINOR- 

ECCLE51A5TICAL-  DOMESTIC 

i^JVD 

GAR-DEN  AR-CHITECTVR-E 

OF 

50VTHER.N  5PAIN 


Photo^rdphs  dnd  Drawing J bj 

AV5TIN  WHITTLE5ET 

With  d Prejpace  bj^ 

Bertram  Grorvenor  Goodhue 


NEW  TOtLie 

ARSHITECTVFAL  B021APVBLISHING  CO. 
PAVE  WENZEL  AND  MAVR-ICE  KJLAKOW 
THIR-TYONE  EAJT  TWELFTH  JTR-EET 


Copyright  1917 
BY 

Paul  Wenzel  and  Maurice  Krakow 


)'HE  eEIT/ 


TO 

PIERRE  L.  LE  BRUN,  ESQ. 

Founder  of  the  Le  Brun  Traveling  Scholarship 

With  the  grateful  regards  of 
The  Author 


{ 


INTRODUCTION 


'W  'W  "THEN  in  the  year  1910,  Pierre  L.  Le  Brun  founded  the  Scholarship  which  bears  his 
% honoured  name,  no  one  foresaw,  or  even  dreamed  of,  the  possibility  of  what  is  now 
* * upon  us;  that  the  measure  of  civilization  the  world  was  then  enjoying  would  be, 
within  a few  short  years,  so  brought  to  wrack,  even  perhaps  destroyed : So  the  first  winner  of 

this  Scholarship,  following  the  usual  custom,  devoted  “well  and  truly”  his  six  months  abroad  to 
“travel  and  the  study  of  Architecture”  m England,  Erance  and  Italy  as  a matter  of  course. 
Then,  in  1914,  the  present  horror  burst  upon  us,  and  a year  ago  it  was  forced  upon  the  conscious- 
ness of  the  Scholarship  Committee,  that,  of  necessity,  the  usual  routine,  however  valuable,  must 
be  dispensed  with,  and  the  minds  of  the  contestants  set  upon  other  than  the  customary  things, — 
and  that  the  successful  one’s  feet  should  be  led  away  from,  rather  than  into,  the  lands  now 
grappling  in  a life  and  death  struggle. 


Casting  about,  therefore,  for  a subject  that,  however  unusual,  would  still  be  practical,  the 
Committee  hit  upon  our  own  great  and  largely  undeveloped  Southwest,  its  ethnic  past  and  pres- 
ent architectural  needs,  and  decided  upon  a great  building  for  some  supposititious  Mining  Com- 
pany that  should  contain,  in  addition  to  the  Mine  Superintendent’s  residence,  a Bank,  Arsenal, 
Guard  Rooms,  etc.,  and  it  was  suggested  to  the  successful  one  that  he  should  betake  himself 
not  to  Erance  or  Italy,  but  first  to  Spain,  and  afterwards  to  Spanish  and  Erench  North  Africa: 
To  Spain,  by  way  of  preparation  merely,  to  familiarize  himself  with  the  great  works  of  the 
Moors;  and  to  North  Africa  to  study,  sketch,  measure,  and  photograph  the  buildings  of  the  same 
race  after  their  expulsion  from  the  Iberian  Peninsular, — buildings  of  which  little  is  known,  but  of 
which  it  could  be  fairly  assumed  that  although  naturally  of  lesser  importance,  they  need  not  be 
less  masterly  or  less  beautiful. 


That  the  problem  appealed  to  the  budding  architectural  talent  in  America  was  proved  by 
the  high  average  excellence  of  the  various  designs  submitted, — rising  indeed,  in  the  case  of  the 
premiated  ones,  to  distinct  brilliancy.  Of  all  the  designs  submitted,  those  by  the  author  of  this 
present  volume  were  adjudged  the  best.  Having  been  awarded  the  Scholarship,  he  prepared  to 
start  upon  his  journey.  Even  though  the  land  he  was  first  to  visit  was  endeavouring  to  maintain 
a difficult  neutrality,  he  at  once  found  his  path  strewn  with  all  manner  of  obstacles;  yet,  nothing 
disheartened,  made  his  way  to  Gibraltar  in  defiance  of  mines,  submarines  and  nervously  suspi- 
cious officials. 


Thanks  to  its  geographical  position,  Spain  is  to-day  almost  the  only  Christian  land  undev- 
astated by  wars  and  the  rumours  of  war,  so  if  Mr.  Whittlesey  chose  to  spend  two  months 
rather  than  one  in  familiarizing  himself  with  the  sources  of  the  work  he  was  later  to  report  upon, 
who  should  blame  him,  especially  since  he  did  eventually  cross,  by  way  of  Gibraltar,  to  Spanish 
Northwestern  Africa,  where  he  explored  Tangier  and  Fez,  as  well  as  such  lesser  known,  but 
perhaps  on  that  very  account  even  more  interesting,  places  as  Tetuan,  Rabat  and  Salli,  with  a 
thoroughness  that  may  be  regarded  as  remarkable,  considering  the  difficulties  that  lay  in  wait  for 
him  at  every  turn. 

After  three  months  of  such  sketching,  measuring  and  photographing  amid  the  comparative 
serenity  of  semi-barbansm,  he  learned  that,  following  the  course  of  all  the  other  great  civilized 
nations,  his  native  land  had  declared  war  against  the  modern  Attila  and  his  hordes;  where- 
upon he  promptly  put  patriotism  before  his  profession,  turned  his  steps  homeward  as  swiftly  as 
was  possible  under  the  circumstances,  reached  New  York  on  July  16th,  and  is  now  in  service. 

The  collection  of  photographs  and  drawings  here  gathered  together  must,  therefore,  be 
regarded  as  a sort  of  by-product  of  Mr.  Whittlesey’s  journey.  With  the  exceptions  of  the  Gene- 
rahfe  at  Granada,  the  Alcazar  at  Sevilla,  and  one  or  two  other  trifling  buildings  — the  original 
Saracenic  of  which  has  been  quite  overlaid  with  later  work — none  can  be  regarded  as  Moorish 
except  perhaps  by  derivation,  and  all  the  numerous  sketches  and  photographs  of  other  Spanish- 
M oonsh  work  in  Mr.  Whittlesey’s  possession  have  been  ngourously  excluded  from  the  present 
collection,  it  being  his  intention,  if,  and  when  conditions  permit,  to  return  and  complete  the  work 
he  set  out  to  accomplish  by  visiting  French  and  Italian  North  Africa  where,  in  such  towns  as 
Algiers,  Constantine,  Oran  and  Tlemcen,  he  will  find,  it  is  believed,  material  even  more  valuable 
than  that  he  has  so  far  been  able  to  gather  together. 

Possessing  an  admirable  photographic  equipment,  an  inquiring  mind  and  the  traditional  artis- 
tic temperament,  Mr.  Whittlesey  could  not  resist  the  temptation  to  photograph  and  sketch  every- 
thing that  appealed  to  him.  Southern,  and  not  Northern,  Spain,  in  its  relationship  to  the  Spanish 
New  World  of  which  our  own  Southwest  is  a part,  furnishes,  fortunately,  the  same  parallel  that 
Georgian  England  does  to  our  own  Atlantic  Seaboard,  and  fortunately,  too,  it  is  such  Southern 
Spanish  work  as  is  precisely  the  kind  best  adapted  to  our  purposes;  therefore,  this  volume  rein- 
forces in  very  able  and  useful  fashion  indeed  such  books  as  Sylvester  Baxter’s  “Spanish  Colonial 
Architecture  in  Mexico,’’  and  Messrs.  Louis  La  Beaume  & Wm.  Booth  Papin’s  “Picturesque 
Architecture  of  Mexico.” 

Until  recently  the  nearest  approach  made  by  the  architects  of  our  Southwestern  cities  to  the 
work  here  published  has  been  in  the  so-called  very  popular,  but  since  the  truth  must  be  told  very 
crude  and  very  unarchitectural,  “Mission”  style, — if  style  it  can  be  termed.  Of  late,  however,  a 


VI 


strong  tendency  has  manifested  itself  to  abandon  this  in  favour  of  the  far  better  and  more  beauti- 
ful Spanish  Colonial  which,  after  all,  is  scarcely  distinguishable  from  Andalusian  work.  The 
“Mission”  style  represents  merely  what  the  well-intentioned  and  mars'ellously  vigourous  pioneer 
priests  produced,  practically  without  money,  tools  or  intelligent  labour,  in  emulation  of  the  glories 
they  had  left  behind  them  in  Spain  and  Mexico.  It  must  be  admitted  that  frequently  they  suc- 
ceeded almost  miraculously  well,  as  is  proved  by  such  buildings  as  the  Church  of  San  Miguel  at 
Santa  Fe,  originally  built  in  1 540,  or  the  Mission  of  San  Jose  near  San  Antonio,  or  that  of  San 
Juan  Capistrano. 

These,  however,  are  notable  exceptions;  and  in  the  main  not  much  can  be  said  for  their 
buildings  other  than  that  they  are  noble  attempts,  which  is  a great  deal  more  than  can  be  said 
for  the  great  majority  of  the  modern  buildings  that  have  been  produced  in  imitation, — now,  how- 
ever, with  ample  funds,  tools,  and  skilled,  if  highly  unionized,  labour. 

It  would  seem  as  if  the  “Mission”  style  had  had  its  day  and  that  we  may  hope  for  better 
things.  No  longer  are  railway  stations,  houses,  shops  and  hotels  built  with  one  or  more,  if  not 
indeed  all,  the  various  distinctive  features  of  a “Mission”  Church.  Storied  towers,  Carmelite 
belfries,  and  tortured  and  be-consoled  gables  are  beginning  to  be  more  rarely  employed,  while 
perfect  simplicity,  great  blank  spaces,  honest  tile  and  masonry  greet  the  eye  more  frequently  than 
was  the  case  only  a few  years  ago. 

It  is  to  those  who  are  interested  m this  modern  development, — clients,  architects  and  draughts- 
men, rather  than  to  the  theorist  and  antiquarian,  that  this  book  is  primarily  addressed.  Mr. 
Whittlesey  has  left  the  great  monuments  to  others  and  has  gathered  together  here  pictures  that 
will  be  found  to  be  almost  wholly  buildings  of  minor  importance,  but  in  consequence,  of  greater 
direct,  practical  value. 

The  world  changes  less  rapidly  in  Spam  than  elsewhere,  consequently  there  is  no  reason  to 
doubt  that  in  all  essentials,  save  the  very  unimportant  one  of  human  costume,  these  pictures  in 
practically  every  aspect  represent  Spain  of  the  Eighteenth  quite  as  completely  as  of  the  Nine- 
teenth and  beginning  of  the  Twentieth  centuries:  So  these  are  the  very  buildings,  the  very  scenes 
that  the  Spanish  pioneers,  soldiers,  priests  and  traders  held  in  their  hearts  when  they  crossed  the 
seas  in  quest  of  their  fabled  Eldorado,  or  later,  disappointed  in  this  search  but  not  disheartened, 
made  their  way  over  the  weary  leagues  of  desert  to  the  Northward. 

Barring  the  faint  influence  upon  architectural  design  exercised  by  the  Native  Aztec  blood, 
the  buildings  of  Mexico  are  almost  exact  counterparts  of  those  of  Spain,  and  parallel  after  parallel 
can  be  pointed  out.  Such  buildings  as  the  House  for  Archives  at  Lorca  and  the  Alhondiga  at 
Guanajuato  might  well  have  been  designed  by  the  same  architect,  while  such  fountains  as  those 

vii 


at  Granada,  in  the  Pasco  de  la  Bomba,  may  be  found  in  every  little  plaza  in  Puebla,  Morelia  or 
Queretayo. 

In  Mexico  even  the  greatest  churches  can  well  stand  comparison  with  those  of  Spain,  though 
in  Civic  work,  especially  of  the  more  important  sort,  the  superior  building  ability  of  the  Spaniard 
over  the  Mexican  is  apparent,  for  such  Mexican  examples  as  the  Mineria  at  the  Capitol,  or  the 
City  Hall  at  Guadalaraja,  cannot  for  an  instant  face  comparison  with  the  City  Hall  at  Seville. 

It  IS  not  amiss  here  to  call  attention  to  a quality  certainly  possessed  by  every  building 
pictured  in  this  book.  We  Americans  are  wont  to  associate  romance,  glamour,  picturesque- 
ness and  the  like  with  everything  in  foreign  lands, — buildings  included, — “Over  the  seas  lies 
Spam” — but  we  are  not  wont  to  realize  that  these  qualities  are  as  nothing  unless  adjuncts  to 
honesty,  and  it  is  to  be  feared  that  in  our  copying  we  strive  for  the  letter  rather  than  for  the  spirit. 

In  Fergusson’s  “History  of  Architecture”,  a work  that  as  a lad  I was  taught  to  revere  as 
gospel,  Saracenic  architecture  in  Spam  (and  by  corollary,  that  of  the  Christians  that  followed) 
is  treated  with  scant  courtesy,  the  author  finding  them  possessed  of  “no  constructive  ability,  no 
skill  in  arrangement  of  plans,  and  no  desire  for  architectural  magnificence”. 

To-day  we  will  hardly  agree  with  this  dictum,  but  Mr.  Fergusson’s  statement  that  they 
(the  buildings  of  the  Moors)  were  also  only  in  perishable  plaster,  which,  though  well  suited  to 
the  style  of  the  Moors,  is  a material  which  no  architectural  people  ever  would  have  employed  , 
gives  us  matter  for  serious  searching  of  hearts.  After  all,  the  walls  on  which  the  Moors  laid 
their  plaster  were  certainly  thick  enough  to  produce  wonderful  third  dimensional  effects,  and  the 
material  of  such  walls  was,  invariably,  enduring  stone,  or  almost-as-enduring  brick.  One  wonders 
what  Mr.  Fergusson  would  say  of  some  of  our  modern  methods  of  constructing  the  surfaces  to 
which  our  modern  plaster  work  is  applied, — I cannot  say  “trowelled”  since  the  process  is  frequently 
carried  through  without  the  aid  of  human  hands, — on  surfaces,  scarcely  walls,  of  materials  that 
have  grown  constantly  cheaper,  until  now  they  are  incredible  in  their  flimsmess.  This  lamentable 
state  of  affairs,  however,  is  only  to  be  found  in  our  own  United  States.  In  Mexico,  as  in  Spain, 
building  remains  as  honest  and  substantial  as  ever,  although  always  produced  with  what  Bernard 
Shaw  so  aptly  characterizes  as  “Spanish  magmficence  and  Spanish  economy  . 


viii 


Bertram  Grosvenor  Goodhue. 


List  of  ‘Elates 


PLATE  NO. 

Frontispiece,  Pencil  Sketch. — Osuna — A Convent  Church. 

1.  Utrera,  A Church  Tower. 

2.  Utrera,  Santa  Maria  de  la  Melba. 

3.  Cordoba,  San  Pablo,  Gateway  to  Court. 

4.  Cordoba,  Church  of  La  Magdalena. 

5.  Cordoba,  San  Lorenzo. 

6.  Cordoba,  Doorway  of  Tower  of  San  Hipohto. 

7.  Cordoba,  The  Tower  of  San  Nicholas,  A Former  Moorish  Minaret. 
Lorca,  A Country  Church. 

8.  Cordoba,  El  Carmen. 

9.  Lorca,  A Hillside  Church. 

10.  Murcia,  A Small  Church. 

Lorca,  A Church  Doorway. 

1  1 . Lorca,  1 he  Cathedral. 

12.  Lorca,  Tower  of  the  Cathedral. 

1 3.  Lorca,  A Church  Doorway. 

14.  Ronda,  Moorish  Bridge  and  Lower  Part  of  the  Town. 

1 5.  Ronda,  Santa  Maria  la  Mayor. 

1 6.  Ronda,  Santa  Cecilia. 

1 7.  Ronda,  Espirito  Santo. 

18.  Ronda,  A Convent  on  the  Plaza  de  General  Weyler. 

1 9.  Cordoba. 

Jerez,  San  Miguel. 

20.  Ronda,  Church  of  La  Merced. 

Jerez,  Campanile  of  Dome  of  the  Colegial. 

2 I . Jerez,  Campanile  of  the  Colegial. 

22.  Sevilla,  Belfry,  Convent  of  Santa  Paula. 

23.  Sevilla. 

24.  Osuna. 

25.  Granada,  Church  of  the  Compahia. 

26.  Granada,  San  Ildefonso. 

27.  Carmona,  Chapel  Frontispiece  in  Brick  and  Stucco. 

28.  Carmona,  A Church  Dome. 

Carmona,  Tower  of  San  Pedro. 

29.  Ronda,  A Church. 

30.  Carmona. 

3 1 . Lorca,  Ancient  House. 

Jerez. 

32.  Cordoba,  A Small  House. 

33.  Marchena,  H ouses  Around  the  Old  Plaza. 

34.  C armona.  Houses  on  the  Plaza. 

35.  Utrera. 

36.  Marchena. 

Utrera. 


IX 


PLATE  NO. 

37.  Carmona. 

Utrera. 

38.  Almodovar  Del  Rio. 

39.  Lorca,  House  now  Used  for  the  Archives. 

40.  Lorca,  Old  Palace,  now  the  Audiencia. 

41.  Lorca,  A House  near  the  Cathedral. 

42.  Carmona. 

I 

Osuna. 

43.  Marchena,  A House  on  the  Church  Plaza. 

44.  Marchena. 

45.  Jerez,  A House  Facing  la  Colegial. 

46.  Lorca,  A Church  Doorway. 

Lorca,  A Typical  Large  City  House. 

47.  Andalucian  Farmhouse,  Pencil  Sketch. 

48.  Farmhouse  near  Cordoba,  Pencil  Sketch. 

49.  Sevilla,  A Gothic  Doorway,  now  in  Alcazar  Gardens. 

50.  Sevilla,  A Corner  of  the  City  Hall  ( Ayuntamiento) . 
5 1 . Sevilla,  A Doorway. 

52.  Utrera,  Small  Houses. 

Osuna,  Palace  of  the  Duke  of  Osuna. 

5 3.  Ronda. 

A Sketch. 

54.  Ronda.  A House  on  the  Plaza  of  General  Weyler. 

55.  Ronda,  A Doorway. 

56.  Ronda,  Houses  on  the  Rim  of  the  Gorge. 

57.  Ronda,  Two  Doorways. 

58.  Ronda,  Detail  Drawings  of  Doorway. 

59.  Malaga,  Ascent  to  the  Alcazaba. 

Cordoba,  Convent  Courtyard. 

60.  Ronda. 

61.  Cordoba,  A Church  Doorway. 

62.  Cordoba,  Side  Door  to  Court  of  the  Mosque. 

63.  Cordoba,  A Doorway. 

64.  Cordoba,  A House  with  Loggia. 

65.  Murcia,  A Palace  Doorway. 

66.  Osuna,  Doorway,  Pencil  Sketch. 

67.  Osuna,  Doorway. 

68.  Osuna,  Doorway. 

69.  Osuna,  Doorway. 

70.  Utrera,  A House  on  Calle  El  Cado. 

Osuna,  A Doorway. 

71.  Granada,  Casa  del  Chapiz,  Plan. 

72.  Granada,  Casa  del  Chapiz,  view  point  “A  ” 

73.  Granada,  Casa  del  Chapiz,  view  point  “B” 

74.  Granada,  Casa  del  Chapiz,  view  point  “C” 

75.  Granada,  Casa  del  Chapiz,  view  point  “D” 

Ronda,  A M oresco  House. 

76.  Ronda,  A Doorway  to  Moresco  House. 


on  plan, 
on  plan, 
on  plan, 
on  plan. 


X 


PLATE 

77. 

78. 

79. 

80. 

81. 

82. 

83. 

84. 

85. 

86. 

87. 

88. 

89. 

90. 

91. 

92. 

93. 

94. 

95. 

96. 

97. 

98. 

99. 

100. 

101. 

102. 

103. 

104. 

105. 

106. 
107. 


NO. 

Ronda,  Patio  of  Moresco  House. 

Ronda,  Patio  of  Moresco  H ouse. 

Cordoba,  Patio  of  Small  House. 

Cordoba,  Courtyard  and  Fountain  in  an  old  Palace. 
Utrera,  A Courtyard. 

Utrera,  A Small  Patio. 

Sevilla,  Courtyard  in  the  Casa  de  Pilatos. 

Sevilla,  Patio  in  the  Palace  of  the  Duke  of  Alba. 
Monastery  near  Cordoba,  Pencil  Sketch. 

Cordoba,  A Courtyard. 

Cordoba,  Fountain  in  the  Court  of  the  Mosque. 

A Monastery,  Pencil  Sketch. 

Cordoba,  Fountain  in  the  Market. 

Granada,  Fountain  on  the  Paseo  de  la  Bomba. 

Sevilla,  Tiled  Garden  House  in  the  Alcazar  Gardens. 
Sevilla,  Pool  in  the  Alcazar  Gardens. 

Granada,  Fountain  m the  Paseo  de  la  Bomba. 


Granada, 

Sketch  Plan  of  the 

Genei 

alife  Gardens. 

Granada, 

Generahfe 

Gardens, 

view 

point  “A”  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “D”  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “B”  on 

plan. 

Granada, 

Generahfe 

Gardens. 

Granada, 

Generahfe 

Gardens, 

Room  over  Entrance. 

Granada, 

Generahfe 

Gardens, 

View 

point  “G”  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “J”  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “H”  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “K  ” on 

plan. 

Cordoba, 

A Garden. 

Granada, 

Generahfe 

Gardens. 

Granada, 

Generahfe 

Gardens, 

view 

point  “E  ” on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “F  ” on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “C”  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “F’  on 

plan. 

Granada, 

Generahfe 

Gardens, 

view 

point  “L”  on 

plan. 

Granada,  General  view  of  the  Generahfe. 

Cordoba,  A Garden  Walk. 

Monastery  near  Cordoba,  Pencil  Sketch. 

Cordoba,  A Garden. 

Monastery  Gateway  near  Cordoba,  Pencil  Sketch. 

G ranada.  The  Garden  of  Charles  V in  the  Alhambra. 
A Sketch. 


1 


■VJ»  *4  * I 


. «l 


! 


V 


UTRERA— A Cl  lURCI  1 TOWER 


1 


LTRERA--SANTA  MARIA  DE  LA  MELBA 


2 


I 


/ 


<ii 


CORDOBA-  SAN  I’ABLO,  GATEWAY'  TO  COURT 
ExecuieJ  in  Blaclf  Marble 


3 


CORDOBA— CHURCH  OF  LA  MAGDALENA 


4 


J 

I 


. i 


»* 


/ 


i 


'M 


i 


: d 

m 


I 


CORDOBA— SAN  LORENZO 


5 


CORDOBA— DOORWAY  OF  TOWER  OF  SAN  FRPOLITO 


6 


3 


-3 

• I 


I 

' I 


CORDOBA— THE  TOWER  OF  SAN  NICHOLAS  LORCA— A COUNTR'i'  CHURCH 

A Former  Moorish  Minaret 


CORDOBA— EL  CARMEN 


LOFICA— A HILLSIDE  CHURCH 


{ 


r 


|h'{. 


A 


ij 


r ;1|  I 


J 


MURCIA— A SMALL  CHURCH  LORCA— A CHURCH  DOORWAY 


t 


•V 


' fr- 
In 


i 

\ 

■ 1 

;i 

^1 

4 


LORCA— THE  CATHEDRAL 


’•M 


9 


V 


>1 


i 


I 


i 


LORCA— TOWER  OF  THE  CATHEDRAL 


12 


“S’  ■ 


^ 0 


i 


4 

1 


V 


LORCA— A CHURCH  DOORWAY 


13 


• i 


RONDA— MOORISH  BRIDGE,  AND  LOWER  PARI  OF  'II  IE  TOWN 


14 


'1 


- > 

IH 

f-' 


I 


\. 


f 


Y 


* 

' • 1 ^ 


.*9.1 


V 


1 

1 


1 


2 


RONDA— SANTA  MARIA  LA  MAYOR 


15 


N. 


V. 


1 


RONDA— ESPIRITO  SANTO 


1 ' 


\ 


*1 


I 

1 


/ 


ronda—a  convent  on  the  plaza  de  general  weyler 


CORDOBA  JEREZ— SAN  MIGUEL 


RONDA— CHURCH  OF  LA  MERCED 


JEREZ— CAMPANILE  OF  DOME  OF  THE  COLECIAL. 


20 


V 


JERLZ— CAMPANILE  OF  11  IE  COLEGIAL 


21 


«■ 


SEVILLA^BELFRY,  CONVENT  OF  SANTA  PAULA 


22 


1^*  K 


\ 


J 


LJM  . 


SEVILLA 


23 


f ' 


V 


f 


t 


OSUNA 


24 


-4;  " 


i 


A 


\ 

A 


« 


GRANADA— CHURCH  OF  THE  COMPANIA 


25 


r 


•t 


♦ 


.S  A 


GRANADA--SAN  ILDEFONSO 


26 


\ 


‘i 


- ^ 

..  /. 


r 


( 

M 

4 


'i 


1 


% 


CARMONA— CHAPEL  FRONl  ISPIECE  IN  BRICK  AND  STUCCO 


27 


• I 

-'<1 


% 

■i 


i 


I 


4 

J 


W 


/ 


CARMONA— A CHURCH  DOME  CARMONA— TOWER  OF  SAN  PEDRO 


4 *■  fi 


J 


I 


RONDA— A CHURCH 


f 


7 


V 


(Kr 

4 


} 


CARMONA 


LORCA— ANCIENT  HOUSE 


CORDOBA— A SMALL  HOUSE 


. '^3 

' L 


1 


-1 


f 


MARCHENA— HOUSES  AROUND  THE  Ol.D  PLAZA 


• T/' 


7 


i ' 


CARMONA— HOUSES  ON  THE  PLAZA 


i 


UTRERA 


35 


/ 


(- 


UTRERA 


MARCHENA 


36 


; 


I*-- 


7i 


1 


X 


■-f» 


I ' 


UTRERA 


CARMONA 


37 


• \ 


• / 


■ 

•if 


■ 

■ 


7 


L ORCA— HOUSE  NOW  USED  FOR  THE  ARCHIVES 


39 


s, 


/ 


•K 


stf*V 


mmmmm 


V • ■ r iitiiifilfi 

»i » V C2 

V.  M^44-ai»4(m.«g»« 
hft4«'aa»4(a«i^SS»v 

.*  K««r»>a«r4im.ai»4 
* ^»i»<ta»'«aB».aa»« 
KAa^fsa  »««>»<««»« 
t Ka&>si4«a«K«kBi 

'I  Ki.i.#<c£»«a»»4aii»4 
t Hfc4«4ift»«aa»ia8a9 
2 KCf.>4aaa4i^>^'<t«>»*i» 


mvc>*’^i?BaaaRc 

i«m2L^kiy;n««»t 


XLi.i.LrKLLtLl.Ufe 


Naun«i,r'KU»ii«aa»- 

Mrau»«v*'Kiii  Hasaw 
ijufawi^ijiiiaaafc- 
HuaawKKaimaBBu 
■vuvri-KK^naaeak- 
HVa7i-rM;*iauai(- 

|4.kkk’*-K.\k  • kki.Lk 
!.♦,,. ki.>  kn;  .^,  KV  I. 


l.'^U-r. 


LORCA— OLD  PALACE.  NOW  THE  AUDIENCIA 


40 


f 


LORCA--A  HOUSE  NEAR  THE  CATHEDRAL 


41 


Hii»(  K .v.,,'t  .immtfu  ■ >tg.  rrV'j-'<'  * ii***  *<»«!* 
’ »«0*: ' •>* 


OSUNA 


42 


1 


( 


MARCHENA— A HOUSE  ON  THE  CHURCH  PLAZA 


43 


’A  I* 


/ 


4 


.1 


MARCHENA 


ipi  113 


/ / ^ //  ^ / y y yif  //  0 


i 


SEVILLA— A GOTHIC  DOORWAY 

Now  in  Alcazar  Cardens 


49 


/ 


SEVILLA—A  CORNER  OF  THE  CITY  HALL  ( AYUNTAMIENTO) 

50 


. ■-'£'•  .;  "■  • . ''  ■*■.-. 


/' 


s 


SEVILLA— A DOORWAY 


51 


OSUNA— F^ALACE  OF  T1  IE  lOUKE  OF  OSUNA 


52 


•'■TTT*  I'O.*??;  umi'  v«. 


i 


i; 

■ T'f 

f 


4 

'I 


/ 


j 


RONDA 

53 


' *'-.4  • 


RONDA— A HOUSE  ON  THE  PLAZA  OF  GENERAL  WEYLER 


RONDA— A DOORWAY 


rONDA— HOUSES  ON  RIM  OF  THE  GORGE 


1 

j ■ 


RONDA— A DOORWAY  RONDA— A DOORWAY 


\ 


V • -M' 


I 


( 


/ 


1. 


3 


at 


OO 

LO 


..V’ 


MALAGA— ASCENT  TO  THE  ALCAZABA  CORDOBA— CONVENT  COURTYARD 


» - T ^ 


» 1 


J 


RONDA 


60 


’ /» 


. * 


5M 


/ 


CORDOBA  A CHURCH  DOORWAY 


61 


. ^ 


( 


CORIDOBA— SIDE  DOOR  TO  COURT  OF  THE  MOSQUE 


62 


CORDOBA— A DOORWA'l' 


63 


.pwM'ii  jyii  u«| 


I 


CORDOBA— A [ lOUSE  WITH  LOGGIA 


64 


I 


✓ 


r I 


s 


I 


MURCIA— A PALACE  DOORWA'i’ 


65 


i . 


liPt 

f M i I >1- 


J)  O 0.-L  //'  / 


66 


\ 


/ 


• '-A 


5i 


OSUNA— A DOORWAY 


67 


OSUNA— A DOORWAY 


68 


F 


/ 


1 


'ft 


■>. 

^ f*;  .il 


* u 

vwa 


% 


"i' 


OSUNA— A DOORWAY 


’V 


69 


*1 

-T 


(’■ 


V 


UTRERA— A HOUSE  ON  CALLE  EL  CADO 


1 


:1 

1 

% 


I 


GRANADA— CASA  DEL  CHAPIZ 

5cc  Kien>  Point  "A  ' on  Plan 


72 


» « 


GRANADA  CASA  DEL  CHAPIZ 

See  View  Point  "B  " on  Plan 


73 


\ 


f 


) 


I 


* • 


1, 


'■*  'J 


f 


' v“ 


-./i 


i 


GRANADA— CASy\  DEL  Cl  lAPIZ 
Sec  View  Point  “C  ” on  Plan 


74 


1 


f 


■ 

f 


GRANADA— CASA  DEL  CHAPIZ 
See  Viem  Point  "D”  on  Plan 


RONDA  A MORESCO  HOUSE 

75 


■PI  j |n.  i; 


RONDA— A DOORWAY  TO  MORESCO  HOUSE 


76 


f ".Saiiy 


RONDA— PATIO  OF  MORESCO  I lOUSE 


77 


RONDA— PATIO  OF  MORESCO  HOUSE  CORDOBA— PATIO  OF  A SMALL  1 lOUSE 


I 


■i 


i 


CORDOBA— COURTYARD  AND  FOUNTAIN  IN  AN  OLD  PALACE 


;^j 


I 


U l RERA—A  COURTYARD  UTRERA  -A  SMALL  PATIO 


t "Jt' 


C 


.( 


■ . v>V 


SEVILLA—COURTYARD  IN  THE  CASA  DE  PILATOS 


A ’ 


, K-' 
% 


SEVILLA---PATIO  IN  THE  PALACE  OF  THE  DUKE  OF  ALBA 


•K  y:-~- 

V'2^.<V 

J^f'f 


CO 

CO 


CORDOBA—A  COURTYARD 


84 


CORDOBA - FOUNTAIN  IN  THE  COUR  T OF  THE  MOSQUE 


85 


■ / • 


V^' 


. . -'i 


I 


86 


I 

•> 


• V. 


c 


CORDOBA— FOUNTAIN  IN  THE  MARKET 


87 


I 


4 


.4  6:, 


GRANADA— FOUNTAIN  ON  THE  PASEO  DE  LA  BOMBA 


88 


lipji  III  iiJiji  II LUHIWIIIIPI  m ■ -■■ 


SEVILLA— TILED  GARDEN  HOUSE  IN  THE  ALCAZAR  GARDENS 


- J 
1 


4' 


I-  ~ 


SEVILLA—POOL  IN  THE  ALCAZAR  GARDENS  GRANADA--EOUNTAIN  IN  THE  PASEO  DE  LA  BOMBA 


I 


1 


/ 


'd 

/V 

i 


( 


GRANADA— GENERALIFE  GARDENS 

See  View  Point  "A  " on  Plan 


92 


Raw 


V 


V '■  -5 


GRANADA— GENERALIFE  GARDENS  GRANADA- -GENERALIFE  GARDENS 

See  View  Point  "B  ' on  Plan  See  View  Point  "D'  on  Plan 


GRANADA— GENERALIFE  GARDENS 


■i  ' 


1 


• 


I 


GRANADA— GENERALIFE  GARDENS,  ROOM  OVER  ENTRANCE  GRANADA— GENERALIFE  GARDENS 

See  Viem  Poinl  “C"  on  Plan 


GRANADA—GENERALIFE  GARDENS 
See  I'ieTv  Point  “/  on  Plan 


■ I 


n 


m 


sa 


-^i:  W 


h 


i*=i 

# 

£ 


GRANADA— GENERALIFE  GARDENS 
See  l iew  Point  "IP'  on  Plan 


I 


"-a 


::3 


GRANADA— GENERAI.IFE  GARDENS 


.X 


V 


GRANADA— GENERALIFE  GARDENS 
See  View  Point  “E  " on  Plan 


100 


A 


/ 


/ 


4 


rJ 


-T 


i,  *' 


.y/«t 


V At 


1 

C 


•i) 

I 


I 


GRANADA— GENERALIFE  GARDENS 
See  View  Point  "F"  on  Plan. 


GRANADA— GENERALIFE  LOGGIA 
Above  View  Point  “C  ' on  Plan 


101 


( 


,1. 


GRANADA— GENERALIFE  GARDENS 


5ee  yien>  Point  ' I on  Plan 


GRANADA  GENERALIFE  GARDENS 

5ec  I fcn»  Point  */.  ’ on  Plan 


102 


V 


' *’11 


:u 


GRANADA— GENERAL  VIEW  OF  THE  GENERALIFE 


CORDOBA- A GARDEN  WALK 


103 


\ 


i 

I 


//L  C ^ /iJ>  /r 


f 


' ' V 


CORDOBA-  A GARDEN 


•X 


i 


> 


\ 


o 


■i 


GRANADA— THE  GARDEN  OF  CHARLES  V IN  THE  ALHAMBRA 


•» 


' 4 


4 


I 

r 


V 


